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Volume 1 4 
Number 4 

Open House 

Ellen G.K. Rubin 
Scarsdale, New York 

Frankfurt Book Fair 2006: Part 1 

Theo Gielen 
The Netherlands 

It's a big event and you decide to have a party, an 
Open House. You invite dear friends and family and they 
in turn invite their friends and family. Before you know it, 
year abode is bursting at the seams with wall-to-wall 
people. And that's how we were on Thursday night, 
September 14, 2006 at the Essex Inn in downtown 
Chicago. As the light faded on Michigan Avenue and the 
Lake beyond, a helix of people snaked the length of the 
~eexing room. 

""Welcome to the 6 a Biennial Movable Book Society 
C inference," Ann Montanaro announced in her loudest, 
-rrertion-getting librarian's voice. Our instructions were 
.; !:~e up to sign in for the Conference and receive the 
• • e.corne Packets Ann had painstakingly prepared. Our 
- r. ?erle Mesta -The hostest with the mostest! - Ann 
iiuz;ered around the packed room saying, "Hello" to each 
aaendee, offering suggestions for our new Silent Auction 
a her daughter, Abby Montanaro Ranson, answering by the volunteers who were giving out thepackets, 
-iz showing me her bulging eyes which said, "How are 
e 2-ing to fit everyone in here?! ! !" Our usual attendance 
:: about ~0 people was rapidly growing, and we were 
tesgerously approaching the fire code limits of the room- 
: - = :~lv one available to us in the hotel. 

Ike Ms. Mesta, Ann, with our Program Director 
Frank Gagliardi, had assembled the crime de la crime in\ the Movable Book Society that is, to give 
presentations at the Conference. The "faithful" were 
-:~ :r.g from all corners of the Earth. We had members 
5 :~ as far away as the Philippines, London, and Spain. 
- his being the Midwest, we were happy to welcome 
travelers from distant California and Vermont as well. 
these on line were rewarded with camaraderie and a 
pr:gram guide outlining the exciting presentations to 
come over the next two days. One clever idea was to have 
~t nametags reflect those who were veterans of 
C inferences past. Each of us who had attended before was 
given a red dot to put on our nametag. [Was this the 
r-arbinger of something to come later?] Some competitive 
: -: proud individual came up with the idea of putting the 
-umber of conferences attended on the red dot. I boldly 
wrote a 6 on mine, all of them! Lucky me! 

Continued on page 2 

Having conscientiously studied the special issues of the 
international book trade journals that announced the 
children's books to be published in the fall of 2006, on 
October 3 we traveled to Frankfurt to visit this year's Book 
Fair that opened the next day and continued until October 8. 
We were well informed about the international fall output, 
yet curious to experience what new intriguing movable and 
three-dimensional projects the publishers would surprise us 
with in the year(s) to come. 

First, however, we took the opportunity to see the unique 
exhibition of 200 highlights of the Guggenheim Collection 
of modern art, moved from New York to be shown in the 
Bundes Kunsthalle (Federal Hall of Arts) in Bonn. The 
former capital of the German Federal Republic, Bonn is 
situated idyllically on the borders of the river Rhine, about 
halfway between the city of Utrecht in the Netherlands 
where I live, and Frankfurt. The visit to this exhibition 
turned into a double treat. Not only did the world famous 
Guggenheim collection prove to be a feast of recognition by 
presenting so many icons of the art of the 20 ,h century, the 
third of October proved also to be a public holiday in 
Germany, commemorating the unification of the former two 
parts of Germany in 1991, after the fall of the Berlin Wall. 
Since it was a bright and sunny day, lots of art lovers had 
taken the opportunity to visit the exhibition as well, so we 
queued in a long line for tickets and shuffled with the 
masses through the exhibition. Maybe not the most ideal 
way to see the exhibition, but it gave us the feeling of seeing 
something very special indeed. 

maybe unconsciously we 
focused on our fair subject. 
We found in the museum's 
shop the first of many new 
pop-up books: Kinderspiele 
von Pieter Bruegel 
(children's plays by Pieter 
Breughel) by Marie 
Barguirdjian Bletton, 
published by Dumont and 
showing a movable version 
of (parts and elements of) 
this well-known Flemish 
painting from 1560. 

Continued on page 14 

Kinderspiele von Pieter 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The index to past issues 
o/Movable Stationery is available at: 
The annual membership fee for the society is $25.00 in 
the U.S. and $30.00 outside of the U.S. For more 
information contact: Ann Montanaro, The Movable Book 
Society, P.O. Box 11654, New Brunswick, New Jersey 
08906 USA. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
Fax: 732-445-5888 
The deadline for the next issue is February 15. 

Open House, Continued from page 1 

It was hoped that those with red dots would open 
conversations with those without them and would thereby 
make the newbies comfortable and feel included in our 
"family." I think the idea worked admirably if one could 
judge from the din in the room. 

It was a balmy day in Chicago, perfect for walking the 
few blocks to Columbia College Chicago Center for Book 
and Paper Arts where we were scheduled to be treated to 
a delicious exhibition, A Movable Feast: Pop-ups, 
Volvelles, Tunnels, Flaps and Other Movable Books. 
Belying the non-descript building housing the Center, the 
2 nd floor was spanking new with wide-open, well-lit 
spaces. One room with printing presses around the 
periphery and worktables in the center had a large area 
filled with luscious finger-food. We spread out as best and 
as fast as we could. 

But the real feast was "The Movable" one lovingly 
prepared by curator, Bill Drendel. Mile-high tall, 
skyscraper slim, and grinning ear-to-ear, Bill welcomed 
us. He had created an exhibition expounding on The 
Process of making movable books. The material he had 
gathered was influential on the history of pop-ups. 

Creatively displayed along the corridors and in free- 
standing vitrines were books, original art, letters, and 
working drawings representing the work of paper 
engineers who for most of us are household names, lb 
Penick, Ron van der Meer, John Strejan, Kees Moerbeek, 
Tor Lokvig, and others. These were from the collection of 
John Railing, the charismatic Chicago lawyer, marketer 
and celebrated magician. It was magic how John had 
accumulated seminal material of pop-ups from the 
pioneers. His long-standing association with lb Penick, 

who had engineered much of the Random House series of 
the 1970s, gave John a unique perspective on the field's 
infancy. Clusters of collectors gathered around John and 
peppered him with questions. For example, in the first 
Random House book, Bennett Cerf s Silly Riddles, there is 
the riddle, "How does one divide 16 apples among 19 
people?" Lift-the-flap and the answer appears, "You make 
applesauce." But who are the group of rascally "apple- 
pickers" standing beneath the tree? John identified the 
caricatures as Wally Hunt, lb Penick, John Strejan, Tor 
Ix>kvig, and Akihito Shirakawa, the illustrator of many of 
the books. Here's why you have to come to the Conference 
to be in-the-know! 

With Penick, John produced one of the most difficult 
pop-up ads for Benson & Hedges Cigarettes. Appearing in 
Sports Illustrated Magazine in the 1980s, about 7.5 million 
ads were produced over 12 weeks. lb was able to get the 
cigarette package to realistically bulge out of a pocket. The 
item the group found most interesting was Ib's notes to the 
pop-up producers in Cali, Columbia detailing not only how 
the assembly tables should be set up but what questions to 
ask prospective hirees for assembly jobs. 

Another case showed the working mock-ups for Robert 
Sabuda's Winter's Tale and Encyclopedia Prehistorica: 
Dinosaurs. Studying them felt like looking behind the magic 

Forgive me my bias, but the best of all was standing arm 
in arm with my "sister in pop-ups," Dagmar Kubastova 
Vrkljan, under the red and yellow sign, Vojtech Kubasta. It 
hung over the entrance to an entire gallery alive with the art, 
ephemera, and pop-up books of the man John Railing calls 
"The Grandfather of Pop-ups." Bill Drendel reassembled 
almost all of the items which had been in the Bienes Center 
exhibit in Ft. Lauderdale, Florida last March. Carefully 
selected from my collection and Dagmar's, the material 
highlighted Kubasta's artistic process. Members who had 
been unable to get to Florida appreciated its re-creation and 
the presence of Dagmar, Docent Extraordinaire. 

John, Robert, Dagmar, and I answered questions about 
our contributions. The exhibit visit was a relaxed and 
intimate start to our Open House. 

Friday dawned bright and sunny and found the members 
seeking seats in the ballroom. Red dots were sprinkled 
liberally among the round tables. Most of the presenters at 
the Conference were not of the age to have grown up with 
computers. Using PowerPoint technology meant leaving the 
relative safety of slides behind. We all dreaded "The Glitch." 
For my talk, "Paris to Penick-700 Years of Paper 
Engineering," I was Girl Scout-prepared with several CDs, 
cables and my computer. 

Continued on page 10 

The Use of Movable Pop-up Books 

to Communicate Creative Ideas 


Corrie Allegro 
Victoria, Australia 

There are interesting cross-overs into the pop- 
up/movable field ranging from industrial design, 
architecture, fine art, sculpture and illustration. The 
following examples from my collection show the 
versatility and strength of three-dimensional use of paper 
to highlight aspects of artistic endeavors. It creates an 
enormous opening to educate, entertain, and surprise a 
larger audience across all ages and with the popularity of 
movable books over the last 1 50 years, a platform has been 
created for a wide range of artists to showcase their talent. 

The Australian Marcl 
Newson is a renowned] 
international designer andl 
has made his reputation I 
from car design, kitchenl 
utensils, and hotel interiors, 
to complete airline! 
corporate style from menusl 
to the interior of the newl 
Boeing 787s for Qantas. Inl 
2004 there was a Newson" 
exhibition at the Groninger Museum in Holland where 
Dutch publisher Artimo approached Experimental Jetset 
to compile and design a Marc Newson pop-up book as a 

museum catalog. The soft cover book is 22 x22 cm., 20 
pages with 2 pop-ups, tabs, wheels and printing 
embellishments housed in a cardboard box with a T-shirt, 2 
badges and a sheet of "blotter-art"! All a little Andy Warhol- 
ish, especially when the whole package is called Pop On Pop 
Off a play on the Timothy Leary's slogan "turn on, tune in, 
drop out." 

In the book designers' own words, "Marc Newson often 
cites sixties/seventies science-fiction movies as his main 
influences. So we decided to design the spreads of the book 
as if they were prog-rock gatefold sleeves. . .plus psychedelia 
plus pop culture plus paper engineering... with Marc 
Newson's designs floating like space ships... we enclosed 
the blotter sheet (a pretend perforated sheet of LSD stamps) 
in the box to place Newson's work in a psychedelic 
context. . ." 

Now all that is very fine to justify a design whim but the 
whole project is saved by the visual presentation of work by 
an extremely gifted industrial designer in a medium not 
usually thought of as marketing display material. The book 
covers furniture, a Danish bicycle, as well a Ford auto, and 
the 1986 Lockheed Lounge to airplanes. A tour de force! 

Another example of 
industrial design 
utilizing pop-up 
engineering is a book 
called Curious Boym. 
Constantin Boym was 
born in the Soviet Union 
and immigrated to 
America in 1981. Today 
his New York studio 
produces design work for 
Alessi, Swatch, and 
exhibition installations 
for many American 
museums. Objects designed 
in the permanent collection 

by Boym Partners are included 
at the Museum of Modern Art 

Curious Boym 

Pop On Pop Off 

This book, published in 2002 by Princeton 
Architectural Press is a retrospective of his environmental 
and experimental architectural and industrial design work. 
In contrast to Marc Newson, Boym uses recycled, 
discarded materials and a decadent sense of humor with 
inspiration from Marcel Duchamp and the Dada art period 
of the twenties to create popular useful and totally 
whimsical items. The book's title is a homage to Curious 
George by Margret Rey from the 1940s and as Boym 
comments, the character of "a cute little monkey who 
traveled from the jungle to live in the exciting modern 
world ...driven by curiosity to play and experiment with 
elements of his daily environment. . .new uses for familiar 

This is a great metaphor for his own progression from 
the former Soviet world to the consumer paradise in the 
West, mirrored by his design solutions for everyday 
objects. The thick cardboard cover of the book has a large 
circular cut-out highlighting the front piece page of a 
recycled couch and the punched-out, circle cards were 
recycled as promotional coasters! Pop-up elements are 
used to highlight chapters on "experiments," "products," 
and "environment" and brings to an audience not familiar 
with the avant-garde world of design/architecture a point 
of reference for understanding the designers' goal. (Check 
out the 1969 production by Intervisual Communications 
published by Houghton Mifflin Company of Curious 
George: A Pop-up 
book by H.A. Rey; it 
will explain the 

A different 
approach was taken by 
the Dutch architect 
Rein Jansma from the 
firm Zwarts & Jansma, 
in Stairs, published by 
Joost Elffers Books in 
1999 (original edition 
1982). The linen- 
covered book of 10 
pop-up "stairs" housed 
in a cardboard slip-case becomes an 


elaborate exercise in 
promoting his 
firm but in 

utilized he 
has given us a 
toy book that 
is fun to hold 

over and over. 

Without the use of words but with only white paper, light 
and shadows, he has, with simple elegant structures, created 
a sculptural quality in book form that we have seen before in 
gift cards and origami books. It is all in the presentation! 
Perceptions on quality and importance can be enhanced or 
changed by the use of different textures and material. In 
Stairs we have all seen it before but, in the form it is in, and 
in this case, by a renowned architect, the result is perceived 
differently. It is a lovely example of a pop-up solution. 

From October 2005 to January 2006 The Museum of 
Modern Art in New York presented a retrospective of the 
paintings and works on paper by Elizabeth Murray. The 
exhibition covered over 40 years of work focusing on her 
large-scale, multi-paneled shaped canvases. MOMA 
published a hard bound 16-page book Popped Art with four 
pop-ups by Bruce Foster giving a three-dimensional look at 
Murray's experiments with structure, form, and multiple 
overlap of images. This interpretation of art into a playful 
pop-up medium, published as an adjunct for an exhibition, 
is another acceptance of the cross-over in using the artistic 
and reproduction facilities available to help diverse 
audiences appreciate what the art community has to offer. 

In Popped Art we see 
Murray's paintings, a 
selection of preparatory 
sketches and drawings 
portrayed with the skill of the 
paper engineer to enhance 
geometric, angular 
juxtaposition of color and 
shapes. It is a small delightful 
book and gave me an insight 
into an artist I was unfamiliar 

Popped Art 

This now leads me into an egomaniacal study of an artist 
in full flight of fanciful beliefs in his place in the modern art 
world. A book so large, 335 x295 mm., with 334 pages of 
vanity obsessions (and far too expensive to reproduce all the 
pop-ups and inserts in the recent smaller format edition) the 
1997 publication off Damien Hirst's / Want to Spend the 
Rest of my Life Everywhere with Everyone, One to One, 
Always, Forever, Now is the ultimate snake-oil 

showmanship of artistic entrepreneurialism, with one of 
the longest titles! 

Hirst burst onto the 
English art scene in the 
late 1980s with 
controversial images and 
artworks based on, as the 
British press said, "cut up 
cows and sheep in 
formaldehyde." Taken up 
and sponsored by 
advertising's Saatchi 
brothers, Hirst became the 
face of the new wave of art 
for the super rich. Make it 

controversial and in bad taste and expensive and you can 
create a market place. Alexandra Anderson-Spivey, an 
editor of Art Journal in England has written that Hirst "in 
marrying natural history and death has domesticated and 
commodified perversity for the advanced art crowd" and 
"is first and foremost a genius at self-promotion." Phew! 
I can only agree in my humble words! 

But no 

matter how 
crass, once 
smitten by the 
solitary gentle 
madness of 
collecting, in 
this case 
movable and 
pop-up books, 
this collector 

admires this massive book (paper engineered by Herman 
Lelie) using transparencies, pop-ups, gatefolds, inserts and 
tabs as a visual stimulating combination of text and 
images. It is a wonderful example which uses a tactile 
combination of paper and ink, modern artistic 
temperament and the skills of paper engineering that 
comes from a long history of movable books. 

I want to spend , 


■B|E. J^ 

; yK f 

' r, s.M 





'% ■ 


1 Want to Spend . . . 
I will discuss a few more examples in this genre in part 


Peeps into Nisterland: A Review 

Corrie Allegro 

This is a fantastic resource on Ernest Nister. A labor of 
love by Julia and Frederick Hunt has resulted in a superb 
book called Peeps into Nisterland, a 358-page hardback 
volume comprising a bibliography of Nister's published 
books. This exhaustive catalog is a detailed history of Nister 
with chapters on the publishing industry in Nuremberg, brief 
biographies of the writers and artists employed by Nister, 
and an A to Z list of his books. 

The last 53 pages will be of great interest to our members 
as it chronicles in detail from the 
first Nister movable The Magic 
Toy Book (cl890) to the last 
books in 1916. Descriptions 
include title page, cover, 
contents, scenes, names of the 
creative talent where possible 
and publishing dates, and folio 
numbers. Twelve full color pages 
of covers and inside pages 
compliment the text. An 
illustrated chapter on the paper 
mechanisms used by Nister 
describes in detail the methods, 
from revolving wheels to tab 
pulled slats. 

The Hunts have passed their extensive collection on to 
the Nurmberg Toy Museum in Nister's home town and this 
book forms part of the rich heritage from this vital period in 
movable book history. There are only 500 copies of this great 
resource and it deserves a place in any collection of movable 
and pop-up books. 

Thank you Julia and Frederick! 

The book is listed on European Amazon sites but it can 
be ordered (by mail only) from the publisher. Casmelda 
Publishing, 15 Warwick Road, Blacon, Chester, CHI 5BY, 
United Kingdom. The price is £55.00 plus postage. 

Pop-ups in the News 

• Pop-ups, Illustrated Books, and Graphic Designs of Czech 
Artist and Paper Engineer, Vojtech Kubasta (1914-1992) 
received Honorable Mention in the 22nd Annual Mary Ellen 
LoPresti Art Publication Awards Competition for 
publications produced in 2005. The award was presented by 
the Art Libraries Society of North America/Southeast 
Chapter. The 138-page catalog, produced by James A. 
Findlay and Ellen G.K. Rubin, accompanied an exhibition 
held in 2005 at the Bienes Center for the Literary Arts at the 
Broward County Library in Fort Lauderdale, Florida. 

The Fun of the Hunt 

James Haley 
Montague, Michigan 

On a forgettable day a few 
years back an unforgettable 
event happened. On a yard 
sale table was The Wild West, 
written and illustrated by Leo 
Manso, a Rainbow Playbook, 
1950, l a edition, with dust 
jacket. The book sets up to 
form three scenes: the street 
of a typical western town 
where the cowboys go on 
their Saturday night off, the wide colorful plains on which 
the Indians attack a wagon train and are driven off by 
scouts; and an Indian village replete with campfires and 
wigwams, where settlers and "savages" (as described in 
the book) smoke the pipe of peace. 

However, I could only wish for the punch-outs, which 
would have consisted of die-cut cowboys, Indians, 
wigwams, horses, a wooden hitching post (this piece I 
found attached to the town scene), a stage coach, a 
covered wagon, a sheriff's badge, a pistol, and a rifle. All 
brilliantly colored on nine pages, no cutting or pasting 

Maybe down the road, another time, place, yard sale, 
those items would appear. With wishful thinking, I drove 
home with the book and dust jacket in hand. 

A couple of years flew by and I came upon my little 
purchase in some obscure corner of my library. Picking it 
up and wondering why I bought this book, I thumbed 
through it and, wow, on smaller pages in the back, all the 
punch-out items, unpunched, were awaiting top shelf 
attention in my library. I paid 250 for it! 

Another time, on eBay, I bid on four Catechetical Scene 
pop-up books as mentioned in Movable Stationery, 
February 2000 (volume 8, number 1) and after bidding 
S295, 1 lost the bid and sent congratulations to the highest 
bidder. The buyer replied saying he actually needed only 
two of the four to complete his set and, if I was interested 
in others, to send an email to the address he gave me. I 
did. It was a very long email address. A month passed and 
I received a reply. They had 1 6 with jackets. "Oh my," I 
thought, "this is going to be expensive." I asked how 
much and a month passed. They replied, S75. In my mind 
I multiplied S75 times 16. I wrote, does this include 
postage? Another month passed. "Yes" was the answer. 
Still confused, I wrote that I wanted all of them and 
needed to know the total cost. Approximately another 
month went by, S75. Ok, how shall I pay it? Another 
month, "you may send a personal check or international 

money order or Pro Societate Salesiana, Hong Kong." What 
the heck, I sent the check. More than a month went by and 
in the mail eight were sent. Even so, I was delighted to 
receive that amount. This whole process took well over half 
a year and the Pro Societate said they were glad to have the 
extra shelf space and the books were out dated for their 
teachings. By the way, about three days later I received the 
other eight books. 

One more? Once on eBay I bid and won Let 's Play Store 
Over 100 Punch-out Playthings & 6 Real Stores that Pop 
Up. However, to my pop-up horror, no punch-outs. The 
seller acted ignorant and didn't know anything about the 
punch-outs. The book was nice even minus the punch-outs 
and the seller had said "pop-up good" he didn't mention 

Let's Play Store is by 
Doris Duenewald and 
animated by A. Schenk. 
Copyright by Duenewald 
Printing, it was published in 
1950 by Grosset & Dunlap. 
The six "real" stores (all with 
a "cool and neat" 50ish book) 
are service station, toy shop, 
supermarket, pet shop, drug 
store, and hardware store. The 
nothing to cut or paste, no 

assembling punch-outs are on six pages and each page is 
designed for the six "real" stores. I'm not sure why I didn't 
request a refund but the book ended up in that obscure 
corner of my library. Time passed. Then one day, roaming 
through eBay pages, I found a listing from a woman from 
Canada for Let's Play Store. She noted that the pop-ups 
were bad but that all punch-outs were attached and unused 
and that it included a dust jacket. Yep, $20 later, Let's Play 
Store is complete. It is truly the thrill of the hunt! 

Membership Price Increase 

The Movable Book Society Board of Advisors met in 
New York City on September 26, 2006. (The minutes of the 
Board meetings are available at: 
~montanar/mbs.html.) By a unanimous vote, the due 
structure was changed. As of January, 2007 annual dues for 
members in the U.S. will be $25.00 and dues for members 
outside of the U.S. will be $30.00. This increase covers thei 
additional costs of producing, publishing, and mailing thei 

Technologies of Wonder: 
Movable Books and Optical Show(s) 

Verity Hunt 
Reading, U.K. 
In recent years movable books have often been labelled 
"technologies/devices of wonder," grouped together with 
optical toys and instruments as part of an archaeology of 
a pre-cinema age. My research, which focuses on the 
Victorian era, considers both the roles played by these 
objects in the 19 th century and the claims made about them 
by writers and critics today. Movable books have often 
been dismissed as ephemeral toys. But the movables I am 
interested in claim a wider importance by thematising 
their own status as technological objects, referencing the 
technologies of representation of the period: magic 
lanterns, peepshows, panoramas and so on. 

This relationship works both ways, as optical 
technologies sometimes present themselves as books. An 
example is the book camera obscura, an 1 8 th century trend 
for portable camera obscuras built into a folio book 
binding. (Or, of course more recently, the analogies drawn 
between web interface design and pop-up books.) I am 
interested in these so called "technologies of wonder" in 
literature (in its most traditional sense, novels and poetry, 
but also advertising ephemera, newspaper and journal 
articles) and science (treatises and published lectures on 
optics and vision). 

Some movable books present an optical effect in quite 
a literal sense. For example, The Motograph Moving 
Picture Book, London: Bliss Sands & Co, (1898), comes 
with a transparency covered in a pattern of close vertical 
lines which, when superimposed over the pictures in the 
book (that feature similar geometric patterns) and moved 
slowly, creates an optical effect of depth and movement 
known as moire. Others liken themselves to popular 
optical technologies. For example, the introduction to 
Nister's Panorama Pictures. A Novel Colour Book for 
Children, London: Nister (ca. 1894), describes opening 
the book in terms of stepping up to enter a panorama 

Nister crops up in his books in a variety of guises 
across the 1880-90s, from jester/fool to magician, as a 
kind of showman bookseller. He is presented as a balding, 
jolly, old man with one foot outside the frame of the page 
as impresario, and one within it presenting the "show" of 
words and changing pictures. While on one level the 
bookseller's appearances operate as a branding exercise, 
they also function as a particular intermediary response to 
the demands ofNister's books' experimental formats. This 
idea is highlighted by the point that Lothar Meggendorfer, 
another innovative producer of late 19 lh century movable 
books also appears as clown/jester in his texts and has 
often been dubbed a "showman" and master of "magic 
tricks" by enthusiasts of his work. 

Movable books and optical toys and shows seem to hold 
a cultural middle ground in the 19 lb century. Neither wholly 
subsumed by the world of popular entertainment and magic 
nor "high" or "cutting edge" science, they represent an 
intersection of the two. Another aspect of my research 
considers how this may be associated with a Victorian 
popularisation of the study of optics for the child and 
"general" reader. 

Information or comment on any aspect of my research 
gratefully received at: 

Verity Hunt is a doctoral student in the School of English 
& American Literature, University of Reading, UK. She is 
a member of The Centre for International Research in 
Childhood: Literature, Culture, Media (CIRCL). 

Pop-ups in the News 

• The New York Times included Mommy? in their list of "1 
Best Illustrated Books" for 2006. Maurice Sendak has been 
included on this annual list 22 times. The article appeared 
in the Book Review section on Sunday, November 12, 2006. 

• "What I Collect: Behind Every Collector, There's a Tale. 
Here are Some of Their Stories" appeared in The 
Sacramento Bee on November 1 1 , 2006. Maria Winkler was 
one of the featured collectors. The article is available online 
at: http://www.sacbee.eom/l 65/story/72997. html 

• In the June issue of the German magazine Aus dem 
Antiquariat (from the antiquarian book trade), No 3/2006, 
pages 183-201, Theo Gielen has published an elaborate 
contribution on the Schreibers Stehauf-Bilderbiicher as 
published by Schreiber from Esslingen in Germany between 
1937 and 1953. The complete range of 38 titles as published 
under this series title is described and the innovative 
character of their paper artwork explained. Additionally, 
their paper engineer is identified as well. The fact that 
Schreiber published a part of them in wartime and the 
consequences this had for the series - there are very martial, 
even fascist titles in the series - forms a part of special 
interest in this contribution. Gielen also analyses why the 
series wasn't - and to his opinion couldn't be - a success 
and why it was stopped just a few years after its post-war re- 

The research show also that the international editions of 
the books were marketed in at least eight foreign languages. 
In English, two series were published by the original 
publisher J.F. Schreiber: the first, one of four titles as 
"Schreiber's Plastical Picture Books" (1950), and a second 
of another four titles as "Schreibers Pop-up Books" (1953). 

The contribution is followed by a complete bibliography 
of all 38 German titles, their variant editions both in 
German and other languages and their foreign language 
versions. For a copy of the magazine contact 

Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 

1 = 


2 = 


3 = 

= O.K. 

4 = 



Since nobody else seems to want to review the new 
pop-ups I will try to do it as time and other things in my 
life permit I am not going to bother with most of the vital 
facts about them as these are now easily available on the 
web at Amazon, or the publisher, etc. I will continue to 
give you the publishers' names. The important thing is to 
bring them to your attention. There have been quite a few 
good pop-ups published since I was last able to do this 
page so I will slowly try to name them for you. 

BREAKDOWNS. Published by Melcher Media, 2006. 
S29.95. Paper engineer-Bruce Foster. Parody of famous 
celebrities breakdowns. Different and terrific. Outlandish 

4 DR. SEUSS POPS UP. Published by Random House, 
2005. S24.95. Paper engineering by Keith Finch. 
Compilation of seven Dr. Seuss's books with the 
illustrations made into many big and small pop-ups. The 
large size of this book adds to its excitement for a child. 
It's fun to see Dr. Seuss's characters come alive. Most 
pop-ups are simple, with some a little more intricate. 

4 CHRISTMAS IN NEW YORK. Published by 
Bulfinch, 2005. $35.00. Illustrated by Chuck Fisher. An 
impressive pop-up about its title. The pop-ups are 
delightful and both children and adults will enjoy it. 

4+ ONE RED DOT and BLUE 2. Both of these books 
are published by Little Simon. S19.95. They both show the 
intricacy and ingenuity of David A. Carter's paper 
engineering and are great gifts for adults and bright or 
artistic children. Wonderful! 

4 POP-UP AESOP. Published 
by Getty Publications, 2005. 
SI 9.95. Paper engineer: Arty 
Project Studio, Ltd. A beautifully 
illustrated book of five fables. 
Some pop-ups and pull-the-flaps. 
A lovely way to introduce 
children to Aesop's fables. 


Published by Candlewick Press, 2006. $27.99. Paper 
engineered by Robert Sabuda and Matthew Reinhart. 
Anyone who doesn't know about this fabulous series 
shouldn't be receiving this bulletin. Extraordinary! Buy 

5 THE POP-UP BOOK OF SEX. Published by Melcher 
Media, 2006. S29.95. Paper engineer: Kees Moerbeek. 
Definitely for adults only. This is intricate and well done. It 
has to be seen to be appreciated! Beware, before giving it as 
a gift! 

5+ MOMMY? Published by Michael DiCapua Books, 
Scholastic, 2006. S24.95. Illustrations by Maurice Sendak 
and Yorink. Paper engineer: Matthew Reinhart. I must 
admit that this is my favorite pop-up book of this year. 
Between the Sendak illustrations and Matthew's pop-ups I 
could spend hours looking at this book. It is fabulous and a 
must have. 


SUSPENSE. Published by Simon & Schuster, 2006. S29.95. 
Paper engineer: Kces Mocrbcck. It highlights important 
moments, and also Hitchcock's cameo appearances in seven 
of his films. The pop-ups are complex and add much to the 
enjoyment of this large book. It is a great gift for Hitchcock 


"Book as Art: Twenty Years of Artists' Books from the 
National Museum of Women in the Arts"' continues through 
February 4, 2007 at the museum in Washington, D.C. It 
features 108 artists' books by 86 artists. For more 
information see: 
http://www.nm 50 

"Flaps, Folds, Figures, and Flash: Books with Movable 
Parts" accompanied the 1 2* Annual New Jersey Book Arts 
Symposium. The books will be on exhibit at the John Dana 
Cotton Library, at Rutgers University, Newark, New Jersey 
until January 7, 2007. 

"Books in Black: A New Page!" is an exhibition of 
sculptural artists' books that pay tribute to individuals of 
African ancestry who have made major contributions to 
society. It continued until January 31, 2007 at The National 
Museum of Catholic Art and History at 443 East 1 1 5 ,h 
Street, New York. 

Interesting Reproductions 

Theo Gielen 

For those collectors who love to have examples of early 
(precursors of) movables or paper toys but cannot afford 
the prices asked for the originals, it is useful to know that 
some interesting remakes have recently been published. 

The Spanish publishers of antique (paper) devices, 
Antiquus, Viejos Ingenios from Alamo, Madrid, have 
carefully produced a reproduction of that magnificent 
1 85 1 peepshow Lane 's Telescopic View of the Ceremony 
of Her Majesty opening the Great Exhibition of all 
Nations showing Queen Victoria in the London Crystal 
Palace. It is very well reproduced, although the small lens 
in the peephole that originally enlarged the optical effect, 
has been omitted. Issued in a reproduced slip case, it was 
found in the museum shop "Green-Witch" of the 
Greenwich Observatory, London for £ 30.00. Antiquus 
has also made reprints of such treasures as the magical 
thaumatrope The Magic Circle (offered in Greenwich for 
£ 10.99) and the early mix-and-match paper toy 
Myriorama (£ 14.99) published originally in Leipzig in 
1830. To order from their website www.greenwich-, look under "optical items." They can 
also be seen at the publisher's website 
where the e-mail addresses of their U.S. and U.K. 
distributors can be found. 

The German Anton H. Konrad Verlag from 
Weissenborn offers a nice collection of remakes of those 
wonderful peepshow dioramas originally published by 
Martin Engelbrecht in Augsburg, Germany in the 18* 
century. All of them have a pre-cut proscenium, four cut- 
out sections and a back scene, and come with paper sides 
to make a real peepshow diorama out of them. The 

sections appear to have be 
pasted very close one to 
the other. They may be 
better placed in a wooden 
viewing box with some 
more distance between the 
cut-out sections to 
optimize the optical 
effects. Six titles are 
available for 9.80 Euro 
each: Adoration of the 
Shepherds; Adoration of 
the Three Magi; 
Presentation of young 
Christ in the Temple; Paradise; Tl\e Tower of Babel, and 
The Day of Judgement. They can be seen at the website of 
the Diocesan Museum Hofburg in Bressanone and easily ordered through www.konrad- under "Weihnachtskrippe." 

Adoration of the Three Magi 

Those who want to have a genuine, hand-made 
reproduction of a peepshow diorama by Engelbrecht, cut-out 
very carefully and hand-colored, built in an ornamented 
wooden show box (measuring 26x30x26 cm.) should contact 
the antiquarian book and print seller Garisenda in Bologna, 
Italy. They offer five such artistic remakes of the baroque 
dioramas for a full 490.00 Euro each: The Merchant's 
Bench; Acrobats and Equilibrists Entering a Town; Bear 
Hunt; Adoration of the Three Magi, and The Nativity. They 
can be seen and ordered through 

Engelbrecht peepshow 

Big Publishing Numbers 

Publishers Weekly (July 1 7, 2006) included an interesting 
list of the 77 fall American children's books that have a 
publication of 100,000 copies or more each. Among them 
were the following pop-up books and the number of copies 

500,000 copies: Mommy? By Maurice Sendak and Arthur 

Yorinks. Scholastic/Di Capua. 

300,000 copies: Castle: Medieval Days and Knights by Kyle 

Olmon. Scholastic/Orchard. 

275,000 copies: 12 Days of Christmas Anniversary Edition 

by Robert Sabuda. Simon & Schuster/Little Simon. 

200,000 copies: Christmas Pop-up by Robert Sabuda. 

Scholastic/Orch ard. 

125,000 copies: Jungle Book: A Pop-up Adventure by 

Matthew Reinhart. Simon & Schuster/Little Simon. 

100,000 copies: Blue 2: A Pop-up Book for Children of all 

Ages by David A. Carter. Simon & Schuster/Little Simon. 

Snowmen Pop-up Book by Caralyn Buehner. Dial. 

The highest numbers are: 

2.5 million copies: A Series of Unfortunate Events # 13: The 

End by Lemony Snicket. HarperCollins. 

1 million copies: Captain Underpants and the Preposterous 

Plight of the Purple Potty People by Dav Pilkey. 

Scholastic/Blue Sky. 

850,000 copies: A Treasure's Trove: Secrets of the 

Alchemist Dar by Michael Stasther. Simon 

Scribbles/Treasure Trove. 

Open House, continued from page 2 

The technical "miracles" I performed, Apianus' 
Astronomicum Caesareum [1540] volvelles turning, 
Dean's Little Red Ridinghood scene standing up, and 
Kubasta's Here Comes the Circus ' lion tamer putting his 
head in the lion's mouth were all courtesy of CBS 
"Sunday Morning" TV and Japanese Public TV, 
professionals who had produced these videos. The 
segments got into my presentation with a lot of help from 
"My Boys" at the Genius Bar at my local Apple store. I 
can't do a thing without them. 

With all these bells and whistles, I was able to trace the 
historical arc of pop-up and movable books from Matthew 

Paris' 13 Ih century 
volvelle Easter calendar 
to modem artist books 
with movables. With all 
of us now firmly 
grounded in our history, 
we were ready to move 

And move on Paul 
Wehr did. At our last 
conference, he poetically 
detailed the life of his 
father, Julian Weh. He 
first told us that the 
University of Virginia, 
where Wehr's archives are housed, has produced a three- 
CD set entitled, An Artist 's Life Hirough the Eyes of His 
Children. The CDs are not commercially available as yet. 
Now with his wife, Chris, his "Everything-Else Officer," 
he was going to give us but a taste of both his Dad's 
genius and what it's like to be an assembler. Wehr 
Animations has reproduced two of Wehr's books. One 
version of Hie Animated Bunny 's Tail is unassembled. 
Paul told us his father's first patent for moving pictures in 
book form was in 1937. Coming out of the Depression, 
children needed diversions. Wehr produced 30 titles in 
five years. The books were primarily assembled by 

We each received an unassembled book and were given 
the rules. "Remember sandbox days." "Play well with 
others." But most important of all, "follow directions. 
You'll be glad you did." And he was right. Some of us 
"self-starters" blundered early. Many had to deal with the 
"hanging chads" that the punch-outs produced. As is 
unique to our workshops, the circulating paper engineers 
in attendance came to our rescue. There was a collective 
nod of agreement when someone said, "This is so great. 
Now I understand how these work." Humbling experience 

Dagmar Vrkljan and Ellen 

Rubin with pages for The 

Animated Bunny's Tail 

The Wehrs were followed by another husband and wife 
team, Ana Maria Ortega and her architect husband, Alvaro 
Gutierrez, both of Palencia, Spain. Sixteen years ago they 
had spent their honeymoon in Chicago, and they seemed 
delighted to return. They are active collectors of movable 
books. In heavily accented but good English, Ana Maria and 
Alvaro described the 1 2 exhibits they have mounted in Spain 
and Morocco showing off their collection. Alvaro has 
created exhibit cases that allow for movement of the books 
within the cases. Their books, difficult to find in Spain, 
reflect Spanish history and culture. Ramon Llul, the Catalan 
mystic who used volvelles to collate information from the 
natural and spiritual world, was represented with a facsimile 
of his Ars Magna. 

The couple divides their exhibitions by themes and 
supports them with activities to show off the books' 
movement. They provide for their attendees guided tours, 
conferences, games and puzzles. There is much attention to 
history and particularly, the history of art. They talked about 
Da Vinci's exploration of perspective and how it was 
exploited later by Escher, Duchamp, and others. As 
examples, they showed books with holograms, 3D pictures, 
Magic Eye and moire effect. All of this was set to music 
creating an educational as well as entertaining presentation. 
The "show" closed with examples of Alvaro' s buildings, 
intentionally or not, influenced by his work with pop-ups. 
One of the Spanish couples' goals is to introduce children to 
the art world via pop-ups. They are well-along the right 

What's an Open House without food? Platters and 
platters of sandwiches and salad were carried in for our 
gustatory delight. We brought our plates to our tables and 
prepared to learn more about our new friends. When we had 
a chance we could begin to look at the items available for the 
Silent Auction. Paying $5 for the right to bid, we were each 
given a secret code letter in the form of a Scrabble tile. 
There were copies of the Celebration book, original art by 
Vojtech Kubasta, the catalog from Brooklyn Pops Up! and 
numerous smaller items, some rare, some more readily 
available. All had been donated by our generous members to 
raise money for The Movable Book Society. 

Chuck Fischer, called "a 
true Renaissance man," 
brought a different esthetic 
to our group. While schooled 
in the fine arts as many of 
our members are, Chuck is 
well-known for his designs 
for the home, including 
murals, fabrics, wallpaper 
and china. He is not a paper 
engineer. When he had a 
contract to write Great 
American Houses and 

Chuck Fischer 


Gardens for Rizzoli, he called upon David Hawcock to do 
the paper engineering. Chuck's talk was entitled, 
"Building a Pop-up Book" and he likened publishing the 
book to renovating or building a home. His analogy was 
quite apt. 
Both publishing and building require: 

1. Collaboration = Staying on Schedule 

2. Choosing a publisher = Choosing a site. 

3. Mock up for book and cover = Floor Plans and 

4. Publisher =Review Board - They decide if the project 
goes forward 

5. Paper Engineer = Contractor 

6. Paper Engineer/Editor = Production Manager - They 
keep everyone on schedule. 

7. Photos + Text + Original Art = Interior Design 

8. Books shipped to stores, catalogs, and gift shops = 
Moving Day 

9. Book signings = Open House 

[A list of book signings appears on Chuck's website] 

After three books with David Hawcock, Chuck wanted 
to work with someone in closer proximity to him. 
Serendipitously, Chuck received the pop-up invitation to 
the exhibit, Ideas in Motion at SUNY Purchase in NY last 
year. Bruce Foster had done the paper engineering, and 
Chuck consulted with Bruce. Chuck's latest book, 
Christmas Around the World, is due out Fall 2007 and will 
be engineered by Foster. Each of the spreads will be 
"tradition specific." For example, the Faberge eggs 
produced as Christmas presents for the tsars will represent 
Russia. The research for the book was done at the Cooper 
Hewitt Museum in NYC. He thought they had "a great 
collection of pop-up books." 

Throughout Chuck's talk, Bruce stood nearby to add 
comments and details. Q & A was vigorous with artists 
asking about Chuck's technique and materials - mostly 
acrylic and latex. "Whatever works," was his reply. 
Rizzoli was "always counting glue-points." Bruce clarified 
that fewer glue points and nesting sheets translated to 
cheaper books. In response to a question about the use of 
landmarks and icons, Chuck outlined the immense work 
required in all his books to get permissions. Many fees 
were paid. "This is PR" he added. 

As Chuck and Bruce left the podium, I overheard a 
fellow attendee saying, "I'm so glad I came!" To which 
someone added, "I love the enthusiasm." 

Many of us collectors key in on the mechanics of a 
movable book and take the artwork, subject, and text as 
secondary. To focus on the history of various mechanics, 
we had "Uncle Larry" Seidman, known for pulling 
incredibly unique movables out of his pockets. 
Considering he was to talk about the technical aspects of 

movables, it was strange to hear him apologize in advance 
for what would be his first PowerPoint presentation. He was 
determined to show us the movables . . . well? moving. And 
he did. 

He started out with an articulated Violin Master, much 
like one done by Lothar Meggendorfer. We refer to 
Meggendorfer as the Genius of the First Golden Era of Pop- 
ups partly because of his use of rivets. But this Violin Master 
had been made 50 years earlier than Meggendorfer's. Larry 
pointed out that one can date movables by the technology 
used. The Industrial Revolution first made copper, then steel 
wire available for rivets, taking the place of the linen strings 
used up until then. 

Early optical toys were an attempt to recreate 
"Persistence of Vision," defined as "a visual phenomenon 
where an image is retained in the eye for a short period of 
time, creating an illusion of continuous motion." Larry had 
several optical toys to demonstrate. In the early 1800s, 
automatons, mechanical devices that mimicked human 
behavior, were all the rage. There was a similar pursuit of 
life-like movement in the books of that time. 

Larry explained to us about Biedermeier cards. Produced 
from 1810-1 840, these love poems resembling baseball cards 
were hand-cut and assembled, often by the consumer. Some 
sets are sequentially numbered. We "oohed and aahed" over 
the variety of mechanisms demonstrated. They have survived 
because they were made of rag paper with linen or silk 
strings. Unlike the books that were copper engraved, the 
cards' artwork was reproduced by stone lithography. These 
movable cards and figures presumably pre-date their use in 
books. Many of the Nister mechanisms only appeared on 
valentines and never made it into the books. As his last 
comment on cards overall, he told us, "A lot of [them] have 
much to do with drinking." 

At the beginning of Meggendorfer's career, about 1880, 
his books were hand-colored. By the end of his career, they 
were chromolithographed. We craned forward to see 
Meggendorfer'sS/ia^ow Theater. The silhouetted figures, lit 
from behind, give a striking appearance. The book is quite 

This use of light and shadow led us into the grand finale, 
a rapid overview of diverse mechanics: a panoramic card fire 
screen, a i^ century Jacob's Ladder, an 18 lh century 
Engelbrecht peepshow of a synagogue, roller screen 
mechanisms, automatons with magnets, and finally, a 
thaumatrope. All these and more were in pursuit of 
Persistence of Vision, the harbingers of motion pictures and 
video. When asked about how he came to have such a 
collection, Larry recited the mantra of collecting: Vision, 
Patience, Money. Like a one-man-band, the collection of 
Larry Seidman is total entertainment illuminated by his vast 


Emily Martin, book artist, gave us a window into the 
imaginings then realization of her artist book, Sleepers, 
Dreamers & Screamers. She called her talk, "Starting, 
Stopping, and Finally Finishing my Circuitous Route to 
my Newest Pop-up Book." The preliminary "story" 
explored the nature of nightmares and reality. Pre-9/1 1, 
Emily started thinking of the book's format as a carousel. 
But it didn't come together. She dropped the project after 
9/11 and sought one that was more like comfort food, 8 
Slices of Pie. She acknowledged it as a way to "avoid" the 
Sleepers book. But the Sleepers idea persisted and she 
picked it up again solving numerous problems, especially 
one with a tippy canoe on a river. [Sorry. You really had 
to be there to witness the difficulties presented and to 
share in Emily's hilarious false starts. I've called her, 
"The Erma Bombeck of Pop-ups." Remember?] Despite 
the difficulties she encountered, Emily was glad that as 
her own publisher, Naughty Dog Press, she "doesn't have 
to count glue-points." To aid in making editions of 
Sleepers... [1 5], Emily uses templates and guides. For ease 
of display, she used an accordion format. When asked in 
Q&A how does she decide how many books to make, she 
answered, "As many times as I can stand to do it!" 

I thought I could catch a bite between activities with 
my STARVING, neglected but indulgent husband, 
Harold, who accompanied me to a conference for the first 
time. It wasn't to be. There in the hotel lobby was Uncle 
Larry up to his old tricks, demonstrating more of his 
unique movables. Like metal shavings lined up in front of 
a magnet and hunched over and so engrossed they never 
noticed me or my camera was Robin Sutton, Bruce Foster, 
Maria Winkler, Kyle Olmon, Tom Hayes, Eric Faden, 
Andy Baron, Grace Co and several others who came and 
went. We were the Dirty Dozen, wide-eyed with the 
erotica Larry manipulated so agilely. [Sony, no images in 
this family- friendly newsletter.] For more than an hour, he 
kept pulling rare mechanisms in small formats out of a 
"Pandora's Box," astounding us. Where does he find this 

With a bag of chips 
secreted in my purse, 
Harold and I crept 
past the sign "No Food 
Allowed" into the 
auditorium back at 
Columbia College. 
Shawn Sheehy, whom 
we first met at the San 
Diego Conference, 
introduced the stars of 
the evening's activity, 
Robert Sabuda and 
Matthew Reinhart. 

Robert Sabuda and Matthew 

Reinhart at the conference with 

Gerry Naugle 

Robert began with a brief bio recounting his early love of 
pop-ups and his failed effort to make a tornado for The 
Wizard ofOz. His childhood photos were fun to see. [He was 
a cute little towhead.] Next Matthew [also a cutie] gave us 
his bio emphasizing his love of Star Wars. After having 
surgery, he had been given Random House's Dinosaurs, his 
first exposure to pop-up books. Matthew's aptitude for art 
showed early but Dad admonished, "Artists don't make 
money." Matthew was bribed with a car and condo to be a 
doctor but would not be deterred and instead attended Pratt 
Institute in Brooklyn, NY where he met Robert. 

Robert professorially described the process of conceiving, 
executing, producing, and publishing their individual and 
partnered pop-up books. Matthew, with frequent 
interruptions, would step to the microphone to give his 
version of the story. Without any artifice, the two staged 
their own "George Burns and Gracie Allen" skit. They had 
the crowd roaring with laughter. What a change in Matthew 
who had years ago spoken to us quite seriously. A bit of 
stage-fright, I presume? Now in a studio in New York with 
five designers, Robert and Matthew are free to create their 
books . . . and even use flocking and foil wherever they want 

Chicago is a quiet city at night, and it was easy to have 
a good night's sleep. Rejuvenated, we started Saturday, our 
last full day, with Ann going over the business end of The 
Movable Book Society. First, she strongly encouraged 
members to write for Movable Stationery, our quarterly 
newsletter. Since there is an editor to help with articles, 
writers should not pass up the opportunity to share their 
collections, experiences, and knowledge because of concerns 
about style and grammar. Second, we were reminded to 
consider the books up for the Meggendorfer Award and to 
get our bids in for the Silent Auction. Finally, to facilitate 
choosing future conference sites, Ann requested the names 
of libraries we could visit that had significant collections of 
movable books. 

Another first-time PowerPoint presenter was Joan 
Sommers with her Product Manager, Amanda Freyman. 
They had the fortitude to overcome all their technical 
glitches, having toughened up when learning to produce 
tunnel books. Joan, clever girl, has found the secret to life, 
commercial life that is - a niche! It all started with the 2004 
Chicago Art Institute's exhibition Seurat and the Making of 
"La Grand Jatte." Joan saw the painting as a perfect 
candidate for a tunnel book, flat subject, easy to outline and 
create layers, and, best of all, "Seurat was long dead [with 
no] estate to deal with." The venture required her to learn 
many things: 

1. Cultural institutions have no money to support 
commercial projects-raise your own. 

2. Institutions must be paid for the use of images. 

3. The difference between toys vs. books. If the object has 
a spine, it's a book, hence, no tariff. Tunnel books have 2 


Andy Baron and Kyle Olmon 


4. Protect books from rough handling during 
distribution and use. Provide a plastic envelope and put 
cardboard dividers between sections. 

5. Packaging must show consumers what a tunnel 
book is. Joan and Amanda had to manually paste 
illustrated stickers on all the books at the warehouse. 

The tunnel book sold well. Encouraged, they published 
one on the jungle themes of Henri Rousseau for another 
Art Institute exhibit, and still again another based on "Day 
of the Dead" by Jose Guadalupe Posada. Not inadvertently, 
both Rousseau and Posada are also long dead. By now 
Joan is well along the learning curve with many new 
books in the works. Tying her tunnel books to exhibitions 
now seems so easy. "Why," she asked, "hasn't it been 
done before?" 

As if we weren't 
humbled enough 
yesterday trying to 
assemble Julian Wehr's 
Animated Bunny 
movable, Andy Baron 
was brought in to crush 
us entirely. "Wehr was 
just the warm up," he 
said with a mischievous 
grin. We would make an original movable as a souvenir of 
the Conference. We cut, folded, creased, inserted, and 
glued to Andy's detailed specifications. Need an example? 
Andy: 'Twist the glue bottle open to 8 o'clock, NOT 4 
o'clock." Robert Sabuda could be seen taking extra care 
with his production. He swore he would never make a 
pull-tab for his books. Of course, many of the paper 
engineers were there to help us. At our table, Kyle Olmon 
patiently re-cut and refolded many. Thank you, Andy! I'm 
proud of my souvenir, one of an edition of 1 1 5, and more 
appreciative than ever of paper engineers like you. 

I remember seeing mariapw come up as a bidder on 
eBay and shuddering. She would be fierce competition for 
pop-up books! Now I know why I had reason to quake. 
Maria Winkler (aka mariapw on eBay) talked to us about 
how she buys and sells pop-up books on the auction site. 
I have to give her credit for candor. [Well, she didn't go 
so far as to tell us how she searches "misspellings" to find 
books.] She didn't shirk from telling us about eSnipc, the 
software that allows buyers to slip their bid in seconds 
before the close of an auction. Who would expect stealth 
from this soft-spoken art teacher from California? But lest 
one thinks Maria has "cloak-and-dagger" moves, her 
feedback on eBay is 100% positive. She's doing 
something right! 

Before our lunch break, we were warned to complete 
our bids on the Silent Auction. Here stealth was in 

evidence as the secret codes were applied to the lengthening 
lists of bidders. Whatever anyone wins, it's clear MBS will 
come out a winner! 

One might expect an archival restorer to fit the 
description of Marion the Librarian, dowdy and dour. Not so 
Robin Sutton the perky fashionable archivist recently 
transplanted to Vermont. Hearing about her penchant for 
tedious tasks, namely the extremely detailed work required 
for repairing antiquarian movable books, those of us with 
books to repair must thank our lucky stars for professionals 
like her. While living in Northampton, Massachusetts, 
Robin came under the tutelage of Bill Streeter who later 
"wanted out." After taking up Bill's business, in walked 
Larry Seidman with Meggendorfers to repair. She "fell in 
love" with Meggendorfer's books immediately. For 10 years 
she has been "taking them apart then mentally rebuilding 
them" using just a few tools and her own two hands. Just as 
she finished outlining her modus operandi, the projector 
started flickering. [Another glitch!] Based on her hard-to- 
believe experiences, she finished by telling us "What Not to 
Do to Your Books, Please!" 

• No tape, especially of the duct type. 

• No stitching, staples, string, or cloth repairs. 

• No postage stamps, tape, or reinforcements. 

If you love the book, give it to a professional for repair. 
Enough said! 

Talk about a glitch! Frank Gagliardi, the host of our 
Open House, was about to give his presentation about his 
collection of movable catalogs, greeting and business cards, 
cartoons, and invitations when the projector light blew! Not 
fair! Frank had worked so tirelessly on the whole program, 
he deserved better. He managed, however, to impart the 
wonderful additions to his collection. "Collecting is in the 
genes," he said. 

Imagine now your host and hostess begin a game of 
musical chairs. The orderly Open House becomes a bit 
chaotic with moving furniture, and circulating people. It's 
time for the Sale, Swap, and Signings. Book vendors set up 
their books, old, new, and artistic. Paper engineers uncap 
their Sharpies. Money changes hands. Arms wrap 
themselves around new treasures. Cameras get passed 
around for photo-ops. Exhausting but fun! Linda Costello 
finally got the opportunity to set up her GIANT books. She 
translates her personal humor perfectly into her pop-ups. 
Now it's time to rest before dinner and our very last night 

There was a form of Musical Chairs after all! Robert 
Sabuda had brought the designers from his office to the 
Conference, and they switched tables with every course at 
dinner giving everyone the opportunity to meet each other. 
Frank got us settled down for the last presentations. "I'm 
herding cats!" he muttered under his breath. Those last 
minute conversations would have to wait. 


John Railing, our keynote speaker, sat down at our 
table with sheaves of paper cascading from files. "I've so 
much to tell you," he warned us. So much, indeed! Living 
the life of a factotum, John has had a finger in the widest 
variety of jobs one can imagine, from lawyer to magician, 
financial advisor to magazine salesman. He's been 
around. Most important to us was his collecting tastes 
which went from first editions to Edward Gorey to pop- 
ups, of course! It was collecting Gorey, specifically The 
Dwindling Party, which in 1988 brought him into contact 
with pop-ups and lb Penick. It was not long after that, 
through lb, John met Wally Hunt. 

In the early 60s, lb worked for Wally's company, Intra- 
Graphics making pop-up holiday centerpieces for Gibson 
Greeting Cards. Later, Hallmark Cards ordered 100,000 
of the centerpieces. A close friend of Wally, Elgin Davis, 
had an art service and invested $50,000 in Wally's next 
new venture, Graphics International. 

not on the patent. Kodak came out with a disposable camera 
after the patent expired.] Intervisual's growth, attributed to 
Wally's acumen and Ib's talent, was summed up by noting 

that the first Random House 
books had print runs of 3,000 
while the last, specifically 
Star Wars, had over 600,000. 

John had barely made a 
dent in his files, and we were 
on information overload. The 
fidgeting was palpable. We 
will have to ask John to 
continue his saga, our history, 
another time. [An article for 
Movable Stationery, perhaps?] We had to move on to the 
last order of business, the announcement of the winners of 
the Silent Auction and, tah dah!!! The Meggendorfer 

Penick interviewed Tor Lokvig in 1962 and later hired 
Art Leonardi away from Warner Animators. After Wally 
met William Wrigley [of chewing gum fame], Graphics 
International produced pop-up Wrigley ads for Jack and 
Jill Magazine between 1964 and 1967. During those 
years, lb, Tor, and Art lived in NYC while Wally lived in 
Scarsdale, NY. Gerald Harrison joined the company as 
sales manager. Harrison, a friend of Chris Cerf, son of 
Bennett Cerf, facilitated the collaboration between 
Graphics International (GI) and Random House. 50,000 
copies of Silly Riddles were printed. 

Unbeknownst to lb and causing some ill-will, Wally 
sold GI to Hallmark Cards and the whole gang moved to 
Kansas City, Missouri. In Kansas City, lb was able to 
school Howard Lohnes, Bruce Baker, and Dick Dudley in 
the art of paper engineering. All went on to work on many 
of the books we treasure from the 1970s and 80s. 

One of Ib's greatest contributions was the launching of 
hand-assembly plants for mass-produced pop-up books. 
The material in the exhibit had given us a bird's-eye-view 
of how he did it. The initial printing for the Random 
House series was done in Japan and assembled in Taiwan. 
In 1968. printing and assembly moved to Tien Wah Press 
in Singapore. A plant was briefly used in Sri Lanka in 
1972-73. Even briefer was the production plant built in 
Jamaica for Random House. In this Caribbean setting, lb 
attempted to produce his pop-up typewriter book that 
could actually type 3-letter words. But the task was too 
ambitious and was abandoned along with the plant. 
Finally, production and printing was moved to Cali, 

John seemed to be in well-deserved awe of lb Penick 
describing the pioneer's landmark work, including a 
patent for a paper disposable camera. [Penick's name is 

Ann ran through the names of the auction winners and 
the sums they owed for the books they had bought. There 
had barely been a few weeks to put this together and yet the 
Auction had taken in a total of $2035. [Thank you, Abby!] 
Imagine our next Conference's auction. Start putting aside 
those desirable items today. 

We will never know if all those red dots on our name tags 
were a subliminal message. Or maybe they were an omen. In 
any case, I was given the privilege of announcing that David 
A. Carter's One Red Dot had won the 2006 Meggendorfer 
Award. Alas, David wasn't able to make this Conference 
and so didn't hear the thundering applause for his 

Without hearing the music for Tlie Party 's Over, we still 
knew it was time to go. The Open House had come to an 
end. But the excitement generated from our stay in Chicago 
will have us all looking in our mailboxes for another 
invitation, looking forward to meeting friends old and new. 
Another open house in two years? What about Toronto? Eh? 

Additional conference reports will be in the February, 2007 issue. 

Frankfurt Book Fair, continued from page 1 

At the Book Fair we discovered, later that week that the 
original edition of the book was published in the spring of 
2006 in France, where - as I will describe later in this 
contribution - there is a surprising revival of movable and 
pop-up books. 

Influenced by this artistic start to the Book Fair, during 
the rest of the week I couldn't stop looking at the new 
movable and pop-up books from an artistic point of view, 
and by consequence? - I found a remarkable number of 


new (children's) art books with flaps, pull-tabs, pop-ups, 
turning wheels, transformational pictures, etc.! But not 
only just those, the production of new movable and pop-up 
books in general appeared to be very impressive this year. 
Not only were they numerically superior to what we have 
seen in recent years, but they were also superior 
qualitatively. The relative decline we perceived from the 
beginning of the millennium, has proved to turn into 
better times for the lovers of this kind of books. For this 
reason I have to select what I will describe in my 
contribution since all I have seen cannot be included - it 
should take two complete issues of Movable Stationery*. 
So here, as always, are my personal choices and 

The comeback of Ron van der Meer 

Probably the hottest news of the fair for pop-up book 
lovers is the announced comeback of master paper 
engineer Ron van der Meer. After the break up of his 
glamorous company several years ago, he turned to work 
on the Internet. It appears he missed the concrete work of 
folding, cutting and gluing paper. Graham Brown told me 
he invited Ron to dinner to discuss the possibility of his 
entering again in the non-virtual world of paper artwork 
and making pop-up books once more - and he happily 
agreed. So Graham Brown of Brown, Wells & lacobs 
proudly showed me the dummy of the next Van der Meer 
title: How Many? Spectacular Paper Sculptures: A Pop- 
up Book. It is a counting book for all ages, or, better, a 
book on quantities, posing simple questions that create 
mind blowing answers. The five double spreads show the 
"spectacular paper sculptures" of the subtitle, done in 
rather simple techniques but highly surprising one by one. 
I couldn't suppress a spontaneous "Wow!" with every turn 
of page. And, where I worried in recent years about 
closing the pages of the paper extravaganzas designed by 
some other paper engineers, I noticed that I effortlessly 
closed the pages and opened them again and again, 
surprised once more at how he had done it with such easy 
techniques. Yes, the "genius," the classification that 
Waldo Hunt gave to him, is back again and with a 
magnificent work of pop-up art showing once more how 
true the principle is of "less is more." It is a pity only that 
we will have to wait until fall 2007 before Random House 
will publish the world-wide, English language edition. 
(The new head of children's books at Random House, just 
moved from Simon & Schuster where she had been 
responsible for the mega-successes of the Robert Sabuda 
titles. She eagerly bought this new Ron van der Meer title 
with best selling prospects). 

There is further good news. According to Graham 
Brown, Ron van der Meer plans to have two titles in the 
future, each packaged by Brown, Wells & lacobs. 
Unfortunately, he cannot manage to do more since he has 
to do them in his spare time, in addition to his core 
business on the Internet. 

The Sabuda - Reinhart Studio 

Where we in the last ten or so years just had to go to the 
Simon & Schuster stand to see the new masterworks of 
Robert Sabuda and Matthew Reinhart, their works now pop- 
up on various stands at the fair. Apparently the two 
gentlemen spread their wings so wide that a single company 
cannot handle their output. Since they put out the packaging 
of their series of Encyclopedia Prehistorica last year to 
Walker Books (Candlewick) - where they had done the 
packaging of their bestsellers themselves until then - we now 
found their works at White Heat, Michael di Capua, 
Running Press, and Scholastic, too. 

Robert Sabuda appears to 
have had a sabbatical since he 
didn't have a new title. Or is he 
too busy managing the studio 
and coordinating the 
conglomerate of publishing 
activities they display? 
Alongside their books we found 
the stationery he offers through 
his own website. Running Press 
brings Christmas Alphabet 
Cards (ISBN 0-7624-2554-7), 
twenty-six cards with "Seasonal 
Greetings" printed on the 
inside, in a keepsake Christmas tin, based on his book The 
Christmas Alphabet. As another spin-off from Sabuda's first 
pop-up book that had its deluxe tenth anniversary edition 
last year, Orchard Books has the mini pop-up Christmas: A 
Pop-up Stocking Stuffer. It reuses, on the nine double 
spreads, the letters C,H,RJ,S,T,M,A,S from the original 
edition but has one new pop-up the reader can guess which 
letter is new. All of these were packaged by lames Diaz's 
company White Heat. 

Robert's 1996 best selling The 12 Days of Christmas, 
now has an Anniversary Edition from Simon & Schuster. 
With a special new final spread featuring a Christmas tree 
with working lights, folding out high above the pages. The 
cover has a velvet bow, and there is a special gift loosely 
inserted, a pop-up turtle dove ornament ready to hang on 
your Christmas tree. For promotional purposes only (marked 
explicitly "not for resale") the publisher had a small number 
of the new last spread, the Christmas tree with the lights, 
bound in the original cover of the book. Your reporter was 
lucky to be presented one of them, and since he had already 
a copy of the original 1996 edition, he doesn't have to order 
for this anniversary edition. 

By the way, the appearance of such one-spread items of 
forthcoming books as a "Promotional item - not for resale" 
seems to be a new way of marketing. In addition to bringing 
the title to the attention of purchasers, it also brings the new 
design to the attention of possible co-publishers. It was 
apparently invented by Robert and Matthew since until now 



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